Lithograph and Stencil on vélin de Torpes paper. Paper Size: 11.14 x 9.055 inches. Excellent condition. Unsigned and unnumbered, as issued. Notes: From the volume, Fernand Leger, Les grands peintres d'aujourd'hui, 1928. Published and printed by Éditions "Cahiers d'Art", Paris, December, 1928. Excerpted from the volume (translated from French), This volume, the fourth in the collection "The great painters of today", was drawn at DCCC examples, namely: V examples on papier Japon impérial with a gouache and an original engraving, numbered from I to V; VII examples on Japon impérial with an original drawing and engraving, numbered from VI to XII; XL examples on Hollande van Gelder, with an original engraving, numbered from XIII to LII; DCCXLVIII examples on vélin de Torpes, numbered from LIII to DCCC. Several examples intended for the collaborators of "Cahiers d'art" have also been drawn. Copyright by Cahiers d'Art, December, 1928. FERNAND LEGER (1881-1955) was a French painter, sculptor, and filmmaker. In his early works he created a personal form of cubism (known as "tubism") which he gradually modified into a more figurative, populist style. His boldly simplified treatment of modern subject matter has caused him to be regarded as a forerunner of pop art. Léger was born in Argentan, Orne, Lower Normandy, where his father raised cattle. Fernand Léger initially trained as an architect from 1897 to 1899, before moving in 1900 to Paris, where he supported himself as an architectural draftsman. After military service in Versailles, Yvelines, in 1902–1903, he enrolled at the School of Decorative Arts after his application to the École des Beaux-Arts was rejected. He nevertheless attended the Beaux-Arts as a non-enrolled student, spending what he described as "three empty and useless years" studying with Gérôme and others, while also studying at the Académie Julian. He began to work seriously as a painter only at the age of 25. At this point his work showed the influence of impressionism, as seen in Le Jardin de ma mère (My Mother's Garden) of 1905, one of the few paintings from this period that he did not later destroy. A new emphasis on drawing and geometry appeared in Léger's work after he saw the Cézanne retrospective at the Salon d'Automne in 1907. In 1909, he moved to Montparnasse and met Alexander Archipenko, Jacques Lipchitz, Marc Chagall, Joseph Csaky and Robert Delaunay. In 1910, he exhibited at the Salon d'Automne in the same room (salle VIII) as Jean Metzinger and Henri Le Fauconnier. In his major painting of this period, Nudes in the Forest, Léger displays a personal form of Cubism that his critics termed "Tubism" for its emphasis on cylindrical forms. In 1911, the hanging committee of the Salon des Indépendants placed together the painters identified as 'Cubists'. Metzinger, Albert Gleizes, Le Fauconnier, Delaunay and Léger were responsible for revealing Cubism to the general public for the first time as an organized group. The following year he again exhibited at the Salon d'Automne and Indépendants with the Cubists, and joined with several artists, including Le Fauconnier, Metzinger, Gleizes, Francis Picabia and the Duchamp brothers, Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp to form the Puteaux Group—also called the Section d'Or (The Golden Section) paintings, from then until 1914, became increasingly abstract. Their tubular, conical, and cubed forms are laconically rendered in rough patches of primary colors plus green, black and white, as seen in the series of paintings with the title Contrasting Forms. Léger made no use of the collage technique pioneered by Braque and Picasso.